E-Bim Fondo Reserva Ms 1

Instituto Espanol de Musicologia, Barcelona, Spain

partbook: 1601-3

Archive Instituto Espanol de Musicologia, Barcelona, Spain (E-Bim)
Shelfmark Fondo Reserva Ms 1
Image Availability DIAMM does not have images of this source.
Surface Paper
Numbering System Foliation
Measurements 260 x 202 mm
Other Identifiers
  • CCM: BarclM 34
  • olim (Former shelfmark): MS 34
Notations
  • black void mensural
External Links
Provenance
  • Toledo? Spain
Contents 62 pieces from 8 composers
General Description

An Altus partbook (voice-parts mostly in (2nd) superius range, with the occasional piece for 'altus' or tenor). At least 33 folios have been cut out, leaving only stubs (originally 72 folios); some evidence of other folios missing from later in book. May have been copied by a single scribe. Probably copied in Toledo; purchased in that city from an antiquarian book dealer.

DIAMM, 2017
Binding

Original covers of brown leather worked with gold.

DIAMM, 2017
Liminary Note

Inscription inside covers: 'Contra alto deno segor en [de voz que era?] de mi senora dona ysabel de quinoses de dona madalena de Billaquiran y de dona francisca ma Ri que [manrique?] que dios guarde amen amen.' Isabel de Quinoses and Dona Beatriz also named on back cover.

DIAMM, 2017
Notation

black void

DIAMM, 2017
Foliation

Original ink foliation, 34-72.

DIAMM, 2017
Surface

paper

DIAMM, 2017
DIAMM Note

A part-book preserved in the Instituto Español de Musicología, Barcelona, contains over fifty items of sacred music by composers associated with both the Cathedral and the Colegio de los Infantes in Toledo during the sixteenth and early seventeenth centuries. These composers range from Morales and Guerrero, to Francisco de Tapia and Jorge de Santa María -- both Masters at the Colegio in the later sixteenth century -- and Alonso Lobo, chapelmaster at the cathedral, 1593 to 1603. The majority of the music is unique to this source, and it also includes works by Morales that were revised for publication when he was in Italy. The part-book is very largely copied for second or first superius, and there are indications that much of the repertory was intended for high voices; but there is also the occasional piece for a lower voice part. The manuscript contains a wide range of Latin-texted sacred music that includes mass settings, Magnifi cats, motets and psalms. In addition to about a dozen items by Morales, the partbook includes rare settings of calendas by Santa Maria, examples of mass propers in contrapunto style by Francisco de Tapia, and a sequence of music for the Christmas Misa del gallo (midnight mass).

DIAMM, 2017
Census Catalogue of Music Description

This information is reproduced here by kind permission of the publishers. It is COPYRIGHT and copying/reproduction of this content without permission may result in legal action.

2 Masses, 6 Mass Proper sections, 5 Magnificats, 1 Te Deum, 1 Canticle, 17 psalms (9 are falsobordoni settings), 3 hymns, 2 Lamentations, 19 motets, 1 textless piece = 57 + 2 duplicates = 59

Detapia-7, Guerrero-2, A. Lobo-1, Morales-10, Ruys-1, anon-36

1 paper partbook (A-39 folios of an original 72), 260 x 202. At the beginning, 33 folios have been cut out; only stubs remain. Original ink foliation, 34-72. Original covers of brown leather worked with gold. No index. Inscription inside covers: "Co . . . ra al Io deno segor en demi senora dona ysabel de quinoses de dona madalena de Billaquiran y de dona foran, ciscama Ri que . . . dios guarde amen amen."

1601-3 (KirschQM). Probably copied in Toledo; purchased in that city from an antiquarian book dealer.

Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550

Click an entry to see more information about that item.

Folio / Pages Composition / Item title Source attribution Composers (? Uncertain)
34 [Gloria Patri] - Anonymous

[Gloria Patri]

Anonymous
Appears on: 34
Genres: Doxology
General Note

incomplete; last line (of a doxology) only

34 Verbum caro [v.4 of Pange lingua] Ruys
Appears on: 34
Genres: Hymn
Source Attribution: Ruys
Voice: [no designation]
Languages: none
Voice Text: 1 work
34v [Lauda Jerusalem] Quoniam confortavit (tone 8) - Anonymous
Appears on: 34v
Genres: Fauxbourdon/faburden, Psalm
General Note

odd-numbered verses

35 Beatus vir (tone 6) - Anonymous
Appears on: 35
Genres: Fauxbourdon/faburden, Psalm
General Note

alternatim setting, incomplete; does not match the text of Ps.111

35 (psalm setting, tone 6) - Anonymous
Appears on: 35
Genres: Fauxbourdon/faburden, Psalm, textless
General Note

textless falsobordone setting for a psalm

35v–36 Salve regina (alternatim) (anon)
Appears on: 35v–36
Genres: Antiphon, BVM, Salve Regina
Source Attribution: (anon)
Voice: [no designation]
Languages: none
Voice Text: 2 works
36 Deo gratias guerrero
Appears on: 36
Genres: Deo gratias
Source Attribution: guerrero
Concordances

Also copied at f. 37

36–36v [Beati omnes] Labores manum tuarum (tone 1) Morales
Appears on: 36–36v
Genres: Fauxbourdon/faburden, Psalm
Source Attribution: Morales
36v–37 (psalm setting, tone 8) Morales
Appears on: 36v–37
Genres: Fauxbourdon/faburden, Psalm, textless
Source Attribution: Morales
37 Deo gratias guerrero
Appears on: 37
Genres: Deo gratias
Source Attribution: guerrero
Concordances

Also copied at f. 36

37v Ego sum panis vivus fran[cis]co De tapia
Appears on: 37v
Genres: Motet
Source Attribution: fran[cis]co De tapia
Voice: [no designation]
Languages: none
Voice Text: 7 works
38 Tenebrae factae sunt fran[cis]co De tapia
Appears on: 38
Genres: Responsory
Source Attribution: fran[cis]co De tapia
38v O magnum mysterium morales
Appears on: 38v
Genres: Motet
Source Attribution: morales
39 Da mihi in disco fran[cis]co De tapia
Appears on: 39
Genres: Motet
Source Attribution: fran[cis]co De tapia
39 [Te Deum] Te ergo quaesumus fran[cis]co de tapia
Appears on: 39
Genres: Te Deum
Source Attribution: fran[cis]co de tapia
39v–40 Sancti Jacobi apostoli s[anta] m[ari]a
Appears on: 39v–40
Genres: Motet
Source Attribution: s[anta] m[ari]a
General Note

described as a 'calenda', i.e. a festive motet

40–40v Nativitas Sancti Joanis santa maria
Appears on: 40–40v
Genres: Motet
Source Attribution: santa maria
General Note

described as a 'calenda', i.e. a festive motet

40v–41 Romae Sancti Joanis ante portam santa maria
Appears on: 40v–41
Genres: Motet
Source Attribution: santa maria
General Note

described as a 'calenda', i.e. a festive motet

41v Jesus Christus eternus Deus santa m[ari]a
Appears on: 41v
Genres: Motet
Source Attribution: santa m[ari]a
General Note

described as a 'calenda', i.e. a festive motet

42 Alleluia. Ego vos elegi fran[cis]co De tapia
Appears on: 42
Genres: Alleluia
Source Attribution: fran[cis]co De tapia
42v–43 Alleluia. Pascha nostrum fran[cis]co De tapia
Appears on: 42v–43
Genres: Alleluia
Source Attribution: fran[cis]co De tapia
43–43v Gaudeamus omnes De tapia
Appears on: 43–43v
Genres: Gradual
Source Attribution: De tapia
44v–45 Magnificat (tone 4): Anima mea Alonso Lovo
Appears on: 44v–45
Genres: BVM, Canticle, Magnificat
Source Attribution: Alonso Lovo
Voice: [no designation]
Languages: none
Voice Text: 1 work
45v–49 Missa Benedicta es caelorum regina: Kyrie misa valenciana de morales
Appears on: 45v–49
Genres: Kyrie eleison, Mass Ordinary
Source Attribution: misa valenciana de morales
General Note

early version of the mass. "Analysis of the surviving voice part ... shows how Morales apparently quite freely re-worked the material for his Rome Dorico publication ... This concern for unity was also shown through the substitution of the former Credo (related to Credo I, and the Credo of his a4 Marian mass) with one matching the dual parody thematic structure of the other mass sections. The Gloria was also completely re-styled, and parts of some of the later sections of the mass were exchanged in the final version." (Nelson2010)

Item Bibliography

Nelson, Bernadette. 2002. Was Morales in Valencia? New light on the origins of the Missa Benedicta es, caelorum regina. Early Music, 365-379.

45v–49 Missa Benedicta es caelorum regina: Gloria -
Appears on: 45v–49
Genres: Gloria (et in terra pax), Mass Ordinary
General Note

early version of the mass. "Analysis of the surviving voice part ... shows how Morales apparently quite freely re-worked the material for his Rome Dorico publication ... This concern for unity was also shown through the substitution of the former Credo (related to Credo I, and the Credo of his a4 Marian mass) with one matching the dual parody thematic structure of the other mass sections. The Gloria was also completely re-styled, and parts of some of the later sections of the mass were exchanged in the final version." (Nelson2010)

Item Bibliography

Nelson, Bernadette. 2002. Was Morales in Valencia? New light on the origins of the Missa Benedicta es, caelorum regina. Early Music, 365-379.

45v–49 Missa Benedicta es caelorum regina: Credo -
Appears on: 45v–49
Genres: Credo (patrem omnipotentem), Mass Ordinary
General Note

early version of the mass. "Analysis of the surviving voice part ... shows how Morales apparently quite freely re-worked the material for his Rome Dorico publication ... This concern for unity was also shown through the substitution of the former Credo (related to Credo I, and the Credo of his a4 Marian mass) with one matching the dual parody thematic structure of the other mass sections. The Gloria was also completely re-styled, and parts of some of the later sections of the mass were exchanged in the final version." (Nelson2010)

Item Bibliography

Nelson, Bernadette. 2002. Was Morales in Valencia? New light on the origins of the Missa Benedicta es, caelorum regina. Early Music, 365-379.

45v–49 Missa Benedicta es caelorum regina: Sanctus -
Appears on: 45v–49
Genres: Mass Ordinary, Sanctus [& Benedictus]
General Note

early version of the mass; no Osanna or Benedictus. "Analysis of the surviving voice part ... shows how Morales apparently quite freely re-worked the material for his Rome Dorico publication ... This concern for unity was also shown through the substitution of the former Credo (related to Credo I, and the Credo of his a4 Marian mass) with one matching the dual parody thematic structure of the other mass sections. The Gloria was also completely re-styled, and parts of some of the later sections of the mass were exchanged in the final version." (Nelson2010)

Item Bibliography

Nelson, Bernadette. 2002. Was Morales in Valencia? New light on the origins of the Missa Benedicta es, caelorum regina. Early Music, 365-379.

45v–49 Missa Benedicta es caelorum regina: Agnus -
Appears on: 45v–49
Genres: Agnus Dei, Mass Ordinary
General Note

early version of the mass; one Agnus Dei 'miserere nobis' only. "Analysis of the surviving voice part ... shows how Morales apparently quite freely re-worked the material for his Rome Dorico publication ... This concern for unity was also shown through the substitution of the former Credo (related to Credo I, and the Credo of his a4 Marian mass) with one matching the dual parody thematic structure of the other mass sections. The Gloria was also completely re-styled, and parts of some of the later sections of the mass were exchanged in the final version." (Nelson2010)

Item Bibliography

Nelson, Bernadette. 2002. Was Morales in Valencia? New light on the origins of the Missa Benedicta es, caelorum regina. Early Music, 365-379.

49v [Ave maris stella] Monstra te esse (II) Morales
Appears on: 49v
Genres: Ave maris stella, BVM, Vespers
Source Attribution: Morales
Voice: [no designation]
Languages: none
Voice Text: 10 works
49v Deo gratias morales
Appears on: 49v
Genres: Response
Source Attribution: morales
50–50v Magnificat (tone 8): Anima mea [K.528] morales
Appears on: 50–50v
Genres: BVM, Canticle, Magnificat
Source Attribution: morales
51 [Pange lingua] Tantum ergo (anon)
Appears on: 51
Genres: Hymn
Source Attribution: (anon)
Concordances

also copied at f. 52

51v Dominus dixit ad me - Anonymous
Appears on: 51v
Genres: Introit, Sequence
52 [Pange lingua] Tantum ergo morales
Appears on: 52
Genres: Hymn
Source Attribution: morales
Concordances

also copied at f. 51

52v–55 Misa del Gallo (Christmas mass): Kyrie - Anonymous
Appears on: 52v–55
Genres: Kyrie eleison, Mass Ordinary
52v–55 Misa del Gallo (Christmas mass): Gloria - Anonymous
Appears on: 52v–55
Genres: Gloria (et in terra pax), Mass Ordinary
52v–55 Misa del Gallo (Christmas mass): Credo - Anonymous
Appears on: 52v–55
Genres: Credo (patrem omnipotentem), Mass Ordinary
52v–55 Misa del Gallo (Christmas mass): Sanctus - Anonymous
Appears on: 52v–55
Genres: Mass Ordinary, Sanctus [& Benedictus]
General Note

No Osanna or Benedictus

52v–55 Misa del Gallo (Christmas mass): Agnus Dei - Anonymous
Appears on: 52v–55
Genres: Agnus Dei, Mass Ordinary
General Note

Only one Agnus Dei "miserere nobis"

56 Alleluia. Dominus dixit as me (Misa del Gallo - Christmas mass) - Anonymous
Appears on: 56
Genres: Alleluia
56 In splendoribus (Communion, Misa del Gallo - Christmas mass) - Anonymous
Appears on: 56
Genres: Communion
56v Hodie nobis de caelo (Misa del Gallo - Christmas mass) - Anonymous
Appears on: 56v
Genres: Motet
56v Hodie illuxit dies (Misa del Gallo - Christmas mass) - Anonymous
Appears on: 56v
Genres: Motet
57 O magnum mysterium (Misa del Gallo - Christmas mass) - Anonymous
Appears on: 57
Genres: Motet
57–57v Domine audivi (Misa del Gallo - Christmas mass) - Anonymous
Appears on: 57–57v
Genres: Motet
57v Gloria in excelsis Deo (I) (Misa del Gallo - Christmas mass) - Anonymous
Appears on: 57v
Genres: Motet
57v Gloria in excelsis Deo (II) (Misa del Gallo - Christmas mass) - Anonymous
Appears on: 57v
Genres: Motet
58–58v Et erexit (tone 8) - Anonymous

Et erexit (tone 8)

Anonymous
Appears on: 58–58v
Genres: Canticle
58v–59 [Dixit Dominus] Donec ponam inimicos (tone 1) - Anonymous
Appears on: 58v–59
Genres: Psalm
59 [De profundis] Fiant aures tuae (tone 4) - Anonymous
Appears on: 59
Genres: Psalm
59v–60 [Laudate pueri] Sit nomen nomini (tone 6) - Anonymous
Appears on: 59v–60
Genres: Psalm
60–60v [Lauda Jerusalem] Quoniam confortavit (tone 8) - Anonymous
Appears on: 60–60v
Genres: Psalm
60v Christe redemptor - Anonymous

Christe redemptor

Anonymous
Appears on: 60v
Genres: Hymn
General Note

verse 1 only

61–61v Psalm-tone formulae (all 8 tones) - Anonymous
Appears on: 61–61v
Genres: Psalm
General Note

Psalm-tone fabordon formulae in each of the 8 tones, set ot Dixit Dominus v.2 "Donec ponam inimicos". Followed by an untexted additional setting in tone 2. Tones 1-7, f. 61; tone 8 & additional tone 2, f. 61v.

61v Christus natus est nobis - Anonymous
Appears on: 61v
Genres: Antiphon
62v–63 Magnificat (tone 8): Et exultavit [K.443] - Anonymous
Appears on: 62v–63
Genres: BVM, Canticle, Magnificat
64v–65v Lamentations (5): Aleph. Quomodo sedet sola civitas Beth. Plorans ploravit in nocte Gimel. Migravit Iudas propter afflictionem Daleth. Vie Sion lugent eo quod non Heth. Facti sunt hostes eius in capite Jerusalem convertere ad Dominum Deum (anon)
Appears on: 64v–65v
Genres: Motet
Source Attribution: (anon)
66v–67 Veni sancte Spiritus - Anonymous
Appears on: 66v–67
Genres: Sequence
Concordances

Same music as the following piece 'Lauda Sion'

67v–68 Lauda Sion - Anonymous

Lauda Sion

Anonymous
Appears on: 67v–68
Genres: Sequence
Concordances

Same music as the preceding piece 'Veni sancte spiritus'

68v–69v, 72 Magnificat (tone 6): Et exultavit [K.925] Morales
Appears on: 68v–69v, 72
Genres: BVM, Canticle, Magnificat
Source Attribution: Morales
General Note

Nelson2010 explores Morales' re-use of ideas from this composition in writing the piece in the published 'set'.

Item Bibliography

Nelson, Bernadette. 2010. A Little Known Part-Book From Toledo. Music By Morales, Guerrero, Jorge De Santa María, Alonso Lobo And Others In Barcelona, Instituto Español De Musicología, Fondo Reserva, Ms 1. Anuario Musical, 25-56. Pages: 31-34.

70–71 Magnificat (tone 1): Anima mea [K.923} Morales
Appears on: 70–71
Genres: BVM, Canticle, Magnificat
Source Attribution: Morales
General Note

Nelson2010 explores Morales' re-use of ideas from this composition in writing the piece in the published 'set'.

Item Bibliography

Nelson, Bernadette. 2010. A Little Known Part-Book From Toledo. Music By Morales, Guerrero, Jorge De Santa María, Alonso Lobo And Others In Barcelona, Instituto Español De Musicología, Fondo Reserva, Ms 1. Anuario Musical, 25-56. Pages: 31-34.

71v Ne recorderis dirige dum veneris / Kyrie eleison (anon)
Appears on: 71v
Genres: Responsory, Verse
Source Attribution: (anon)
General Note

incomplete

Composer Compositions
Anonymous
Guerrero, Francisco
Lobo, Alonso
Morales, Cristóbal de (ca. 1500–1553)
Ruys
Santa Maria, Jorge de
Tapia, Francisco de
Torre, Francisco de la
Composition Composers (? Uncertain) Folios / Pages
(psalm setting, tone 6) Anonymous 35
(psalm setting, tone 8) 36v–37
[Ave maris stella] Monstra te esse (II) 49v
[Beati omnes] Labores manum tuarum (tone 1) 36–36v
[De profundis] Fiant aures tuae (tone 4) Anonymous 59
[Dixit Dominus] Donec ponam inimicos (tone 1) Anonymous 58v–59
[Gloria Patri] Anonymous 34
[Lauda Jerusalem] Quoniam confortavit (tone 8) Anonymous 34v
[Lauda Jerusalem] Quoniam confortavit (tone 8) Anonymous 60–60v
[Laudate pueri] Sit nomen nomini (tone 6) Anonymous 59v–60
[Pange lingua] Tantum ergo 51
[Pange lingua] Tantum ergo 52
[Te Deum] Te ergo quaesumus 39
Alleluia. Dominus dixit as me (Misa del Gallo - Christmas mass) Anonymous 56
Alleluia. Ego vos elegi 42
Alleluia. Pascha nostrum 42v–43
Beatus vir (tone 6) Anonymous 35
Christe redemptor Anonymous 60v
Christus natus est nobis Anonymous 61v
Da mihi in disco 39
Deo gratias 36
Deo gratias 37
Deo gratias 49v
Domine audivi (Misa del Gallo - Christmas mass) Anonymous 57–57v
Dominus dixit ad me Anonymous 51v
Ego sum panis vivus 37v
Et erexit (tone 8) Anonymous 58–58v
Gaudeamus omnes 43–43v
Gloria in excelsis Deo (I) (Misa del Gallo - Christmas mass) Anonymous 57v
Gloria in excelsis Deo (II) (Misa del Gallo - Christmas mass) Anonymous 57v
Hodie illuxit dies (Misa del Gallo - Christmas mass) Anonymous 56v
Hodie nobis de caelo (Misa del Gallo - Christmas mass) Anonymous 56v
In splendoribus (Communion, Misa del Gallo - Christmas mass) Anonymous 56
Jesus Christus eternus Deus 41v
Lamentations (5): Aleph. Quomodo sedet sola civitas Beth. Plorans ploravit in nocte Gimel. Migravit Iudas propter afflictionem Daleth. Vie Sion lugent eo quod non Heth. Facti sunt hostes eius in capite Jerusalem convertere ad Dominum Deum 64v–65v
Lauda Sion Anonymous 67v–68
Magnificat (tone 1): Anima mea [K.923} 70–71
Magnificat (tone 4): Anima mea 44v–45
Magnificat (tone 6): Et exultavit [K.925] 68v–69v, 72
Magnificat (tone 8): Anima mea [K.528] 50–50v
Magnificat (tone 8): Et exultavit [K.443] Anonymous 62v–63
Misa del Gallo (Christmas mass): Agnus Dei Anonymous 52v–55
Misa del Gallo (Christmas mass): Credo Anonymous 52v–55
Misa del Gallo (Christmas mass): Gloria Anonymous 52v–55
Misa del Gallo (Christmas mass): Kyrie Anonymous 52v–55
Misa del Gallo (Christmas mass): Sanctus Anonymous 52v–55
Missa Benedicta es caelorum regina: Agnus 45v–49
Missa Benedicta es caelorum regina: Credo 45v–49
Missa Benedicta es caelorum regina: Gloria 45v–49
Missa Benedicta es caelorum regina: Kyrie 45v–49
Missa Benedicta es caelorum regina: Sanctus 45v–49
Nativitas Sancti Joanis 40–40v
Ne recorderis dirige dum veneris / Kyrie eleison 71v
O magnum mysterium 38v
O magnum mysterium (Misa del Gallo - Christmas mass) Anonymous 57
Psalm-tone formulae (all 8 tones) Anonymous 61–61v
Romae Sancti Joanis ante portam 40v–41
Salve regina (alternatim) 35v–36
Sancti Jacobi apostoli 39v–40
Tenebrae factae sunt 38
Veni sancte Spiritus Anonymous 66v–67
Verbum caro [v.4 of Pange lingua] 34

denotes primary source study

Nelson, Bernadette. None. Morales’s contribution to the Pange lingua tradition and an anonymous Tantum ergo. Cristóbal de Morales: Sources, Influences, Reception, 85-109. Woodbridge, Boydell.

Nelson, Bernadette. 2010. A Little Known Part-Book From Toledo. Music By Morales, Guerrero, Jorge De Santa María, Alonso Lobo And Others In Barcelona, Instituto Español De Musicología, Fondo Reserva, Ms 1. Anuario Musical, 25-56. Notes: full inventory.

Nelson, Bernadette. 2002. Was Morales in Valencia? New light on the origins of the Missa Benedicta es, caelorum regina. Early Music, 365-379. Notes: facsimiles (partial), description (partial).

Kirsch, Winfried. 1966. Die Quellen der mehrstimmigen Magnificat- und Te Deum-Vertonungen bis zur Mitte des 16. Jahrhunderts.  Tutzing. Pages: 121.

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DIAMM, 2016

Monday, 23 January, 2017

NB: Migrated from old site. Credit for notes may not be completely accurate. General Description; Binding Note; Liminary Note; Notation Note; Foliation Note; Surface Note; DIAMM Note

Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550

Monday, 23 January, 2017

NB: Migrated from old site. Credit for notes may not be completely accurate. Census Catalogue of Music Description